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20/02/2023

保留了眼珠的青铜雕塑，真让人觉得画龙点睛、眼睛是心灵的窗户这些说法一点都不夸张。

即使青铜的脸颊已经粗糙不平，即使雕塑的身体已经残缺不全，只要一双用玻璃、象牙、骨头、水晶等材料做成的眼睛还镶嵌在眼眶内，雕塑就似有灵魂，若有所思。

1-2：青年，Antikythera沉船发现，公元前340-330年，雅典国家考古博物馆
3-4：青年运动员，马拉松附近海域发现，公元前340-330年，雅典国家考古博物馆

10/11/2022

帕奥纽斯的胜利女神 Nike of Paeonios，制作于公元前425-420年，帕里安大理石，奥林匹亚考古博物馆。这尊胜利女神虽然保存不尽完好，但身姿昂扬，细节精湛，不逊于卢浮宫的萨摩色雷斯的胜利女神。2004年雅典奥运会奖牌的正面，就雕刻着这尊胜利女神的英姿。

这座雕像是奥林匹亚遗址中发现的最重要的文物之一，也是奥林匹亚考古博物馆的镇馆之宝。蓝色的背景墙衬托，橙黄色的暖光笼罩，胜利女神尼刻如同在蓝天下乘着微风伸展双翼，前来传达胜利喜讯。胜利女神雕像高2.11米，曾站立在宙斯神庙东南角的一座8.81米高的三角形底座之上。女神左脚即将落地，翅膀向后展开，衣裙被风吹皱裹紧身体，裙摆飞扬在后。女神的右脚踩着一只雄鹰——宙斯的象征。在阿希达穆斯战争中，大约在公元前421年，美塞尼亚人和纳夫帕克托斯人联合击败了斯巴达人。为了纪念此次胜利，并感谢天神的庇佑，他们将这座雕像奉献给宙斯。

Victory and pride in Ancient Olympia, the birthplace of the Olympic Games.
Nike of Paeonios, 425-420 BC, Parian marble, Archaeological Museum of Olympia.

20/08/2022

在古希腊人手中，陶土有无限可能！鸭子、杏仁、石榴、篮子……奇形怪状，妙趣横生。

In the hands of ancient Greeks, pottery had countless possibilities! Duck, almond, pomegranate, basket……cute or bizarre, any shape can be realised.

Exhibited at the National Archeological Museum (Athens).

20/07/2022

墓碑浮雕，发现于雅典凯拉米克斯古代墓地，雕刻于公元前5世纪末，现藏希腊国家考古博物馆。

这幅浮雕表现着逝者生前的一个平常的生活场景。逝者是一位贵族妇女，她身穿长袍，坐在椅子上，脚踩一个精致的脚凳。女仆站在旁边，屈膝颔首，向女主人呈上一个珠宝盒。女主人从盒中取出一件珠宝，认真欣赏着。

墓碑的材料为大理石，原本以彩绘装饰。女主人手中的珠宝也是被描画出来的，已经不能辨认。
墓碑上刻有铭文ΗΓΗΣΩ ΠΡΟΞΕΝΟ，说明死者是Proxenios的女儿Hegeso。类似的墓碑常见于古典希腊。墓碑上形形色色的浮雕是对逝者生活的回顾，传达着家人们对逝世的亲人的缅怀。

Grave stele, found in the ancient cemetery of Keramikos in Athens, carved at the end of the 5th century BC, National Archaeological Museum of Greece.

The relief shows a scene from the daily life of the deceased. She is a noble woman dressed in a robe, sitting on a chair with an elaborate footstool. A sorrowful attendant stands in front of her, holding a jewellery box for her. The noble woman takes up a piece of jewelry in her right hand and admires it carefully.

The marble stele was originally painted. The jewellery in the mistress' hand was also depicted and is no longer recognizable. The inscription ΗΓΗΣΩ ΠΡΟΞΕΝΟ indicates that the deceased is Hegeso, daughter of Proxenios. Similar stelae were common in classical Greece. They reveal the lives of the deceased and express their families' sorrow.

10/06/2022

这个来自6000年前的小雕塑有个浪漫的名字，stargazer观星者。

雕像被发现于土耳其的安纳托利亚西部，其简洁的造型与爱琴海基克拉泽斯群岛的史前雕塑相似，被归入早期基克拉泽斯文化。制作时间约为公元前3000年，现藏雅典基克拉泽斯艺术博物馆（Goulandris Museum of Cycladic Art）。

这个人偶雕像有着椭圆形的大脑袋和线条简单的小身体，眼睛被简化为两个凸起的小圆点，鼻子隆起，颇为卡通可爱。他/她垂着手臂，抬起头，似乎正在仰望星空，神思飞扬。

当然，“观星者”这个浪漫的名字是现代考古学家起的。小雕像出土时呈平躺状态，我们难以判断它真实的功能和意义，也没法知道，创造它的先民，是否真的赋予了它仰望星空的含义。但让古老的文物变得亲切动人的，可能正是我们今人“以己度人”对古人的想象。古人今人若流水，共看明月皆如此。明月和星空如此永恒，古人和今人仰望星空时的幻想和感叹，是否也没什么不同？

This small sculpture from 6,000 years ago has a romantic name, Stargazer.

Found in western Anatolia, Turkey, it is classified in the early Cycladic culture. It was made around 3000 B.C. and is now exhibited in the Goulandris Museum of Cycladic Art in Athens.

The figure has a large oval head and a small body represented with simple lines. The eyes are abstracted into two dots, and the nose is bulging, making it quite cartoonish. The little person raises his/her head, and seems to be looking up at the stars.

Modern archaeologists assigned this romantic name "Stargazer". The figurine was lying flat when it was unearthed, so it is difficult to tell its true function and significance, and it is impossible to know whether the people who created it really intended it to gaze at the stars. But what makes the ancient artefact so touching is probably our imagination of the ancients. When the ancient and the modern people look up at the eternal starry sky, do they share the same fantasies?

30/04/2022

亲密依偎的一对母女，或许为珀耳塞福涅与母德墨忒尔
彩绘陶塑，约公元前100年，出自小亚细亚Myrina，现藏大英博物馆

这尊陶俑表现着同坐一席亲密互诉的两名女性。右侧的女性年龄较长，她左手抚胸，身体向同伴倾斜，正在对同伴轻声说着什么。左侧的女性姿态更随意活跃，似乎正在好奇地倾听。从装束和姿势看，两人很可能是一对母女，关系十分亲密，正靠在一起小声说着贴心的话语。陶塑捕捉了如此真情流露的美好时刻，看得人有些感动，也想和妈妈贴在一起，说说傻话。

Terracotta group of two female figures (perhaps Demeter and Persephone)

From Myrina (Turkey), ca. 100 BC

This terracotta group shows two women sitting on the same couch and talking to each other intimately. The older woman on the right, with her left hand on the chest and the body leaning toward her companion, whispers something to her ears. The woman on the left has a more casual and active posture and seems to be listening curiously. From the attire and posture, the two probably were mother and daughter, closely whispering intimate words. The figurine captures such a beautiful moment of intimacy, and reminds us of our family sweet memories.

28/03/2022

”巴黎女郎“
米诺斯文化壁画，发现于克里特岛克诺索斯宫殿，约公元前1450-1300年

这幅壁画中的年轻女子身着鲜艳的华服、乌黑的卷发垂落在脸颊旁，皮肤雪白，口红和眼线妆饰着娇媚的面容。希腊陶器艺术史学家埃德蒙-波蒂埃初见这幅壁画时，赞叹其中女子时髦迷人，好似打扮精致的巴黎女郎，于是给了她 "La Parisienne"（巴黎女士）这个外号。

”巴黎女郎“是克诺索斯宫殿的神圣大厅壁画的一部分。她的眼妆、雪肤和侧面而坐的姿势具有古埃及绘画风格，浓郁的红唇却独具特色。她背后红色的绳结是神圣身份的象征，说明她可能是一名祭司，正在出席某种宗教仪式。

“La Parisienne”

Minoan fresco, found in the palace of Knossos, Crete, c. 1450-1300 BCE.

This fresco depicts a beautiful Minoan woman. She has dark curly hair and white skin. She wears a colorful dress and her face is adorned with lipstick and eyeliner. The art historian Edmond Pottier likened her charming look to contemporary women of his in Paris, and gave her the name “La Parisienne”.

The "Parisienne" is part of the fresco in the Sacred Hall of the Palace of Knossos. Her eye makeup, snow-white skin and sitting pose are in the style of ancient Egyptian paintings, but her bright red lips are unique. The red knot on her back is a symbol of sacred status, suggesting that she may have been a priestess, attending a religious ceremony.

26/01/2022

胜利女神小雕像 & 模特身着Vionnet长裙

小雕像来自公元前5世纪，陶土制，表现着奈姬女神翩然飞翔，带来胜利的消息。雕像背部原有翅膀。照片出自1931年Vogue，特意展示了以这件小雕塑为灵感的一袭Vionnet长裙。

活跃于上世纪20-40年代的法国设计师Madeleine Vionnet很欣赏古希腊雕塑，以其为灵感，创造出斜裁的剪裁方式，大量运用绸缎雪纺等流动感强的布料，设计了许多能够勾勒自然优美的身体线条的裙装。受Vionnet的影响，后来的许多设计师也扔掉了硬挺的材料和刻板的剪裁，重新用衣服展示身体之美。设计师三宅一生评价他第一次看到Vionnet设计的作品：“这种惊奇的印象，类似于人们看到一个刚出浴的女人，只有一块漂亮的布料从她身上垂落下来。”

Terracotta statuette of the goddess Nike & model wearing a dress designed by Vionnet.

The statuette of Nike was made in the late 5th century B.C. It represents the winged goddess Nike bringing a victory message. This flying figure once had wings attached to the slots in the back. The photo, from a 1931 Vogue issue, shows the Vionnet dress inspired by the Nike statuette.

French designer Madeleine Vionnet, who was active from the 1920s to 1940s, admired ancient Greek sculptures and used them as inspiration for creating her famous bias cut. She made extensive use of satin, chiffon and other flowy fabrics, and designed many dresses that could outline the natural lines of human body. Influenced by Vionnet, many later designers also cast away stiff materials and retrieved the clothing function of revealing the beauty of the body. The designer Issey Miyake, the first time he saw a Vionnet's design, commented: "The impression of wonder was similar to that one gets when sees a woman fresh out of the bath with only a beautiful piece of fabric draped down her body."

20/12/2021

哈迪斯劫掠珀耳塞福涅
马其顿王室墓葬墓室壁画，约公元前340年，希腊北部维尔吉那（Vergina）

这幅壁画装饰着一座马其顿王室成员的墓室的北墙，是罕见的古希腊壁画作品之一。画面右侧描绘着冥王哈迪斯劫掠珀耳塞福涅的神话场景。荷马颂诗-致德墨忒尔一篇中记录着这一惊心动魄的事件：天真的少女珀耳塞福涅正在采撷鲜花时，大地裂开，冥王驾着他的黄金马车跃出地面，强行将珀耳塞福涅带往冥府，去做他的新娘。少女哭喊呼号，却不被听闻。壁画中，冥王粗鲁强硬地把珀耳塞福涅横抱上他的车辇；珀耳塞福涅挣扎着向后仰身，无助地抗拒，头发纷乱，紫色的衣裙勉强地围裹着她的身体。画面充满动势，定格了故事中最迅捷暴力的一幕。

Wall Painting of Hades Abducting Persephone
From a Macedonian royal tomb, Vergina, ca.340 B.C.

This fresco decorating the north wall of a Macedonian royal member’s tomb chamber is a rare example of ancient Greek wall painting. The right side of the fresco depicts the mythological scene of Hades abducting Persephone. The story is narrated in the Homeric Hymn to Demeter. When the beautiful maiden Persephone was picking flowers in the field, the earth cracked open, and Hades rose up riding his golden chariot. In the painting, Hades is harshly snatching Persephone onto the chariot, while helpless Persephone is resisting in vain. She is leaning backwards, her hair is messy, and her purple robe barely covers her body. The scene freezes a rapid and violent moment of the myth.

04/12/2021

海豚骑兵冰酒器，约公元前520-510年

陶器外侧绘有六名骑着海豚、手持盾牌和长矛的士兵，每名士兵后边都标有铭文epidelphinos，意思是 “在海豚上”。

这种形状类似蘑菇的陶器被称为Psykter。使用时，在psykter里装满酒，然后将它放在一个装满冰水的大混酒器krater里。这样一来，psykter里的酒就可以被冰镇。

psykter的形状非常适合在水中竖立漂浮。于是，当psykter在大混酒器内的冰水中漂浮晃动时，瓶身上的海豚看起来就如同起伏跳跃在海面上，骑兵也似以海豚为马，于海上进发。

Hoplites Riding Dolphins Terracotta Psykter, ca. 520-510 B.C.

The scene on this vessel depicts six armored spearmen with shields (i.e. “hoplites”) riding dolphins. Each of the figures is followed by an inscription, epidelphinos, which means “upon the dolphin”.

This mushroom-shaped terracotta vessel is called psykter. In use, a psykter would have been filled with wine and was then placed inside a larger krater, which was filled with icy water. In this way, the wine could be cooled down.

The psykter is designed to float in the water. Thus, when the psykter was floating and swaying in the icy water inside a large krater, the dolphins depicted on the bottle would seem as if they were swimming and leaping on the sea, carrying the hoplites to the battle.

20/11/2021

酒神狄俄尼索斯马赛克，庭院地饰，提洛岛House of Dionysus，公元前2世纪。

酒神侧身骑在他的坐骑花豹背上，伸展双翼，手持神杖。不同于别处的酒神形象，此处的酒神长有翅膀，表明在当时的提洛岛，酒神被区别于奥林匹斯众神，而被认为是代蒙（daimon），即介于人和神之间的灵魂的守护者。

马赛克材料为玻璃、彩釉陶、黏土和石块，形状为1毫米见方的小方块。极小的马赛克方块使得组成的画面能够拥有细腻的色彩和细节，近看也可堪比绘画。酒神红润的嘴唇、灰绿色略显迷茫的眼睛和脸部肌肉的走向，都清晰可见。花豹的毛皮毛茸茸的质感、白色的胡子和眉毛、锋利的牙齿，也都得到了精细的还原。

Mosaic of Dionysus, from the House of Dionysus at Delos, 2nd century BC.

Dionysus, the god of wine and rivalry, is riding a leopard or tiger, with wings stretched out and holding a thyrsus in his hand. Different from the imagery of Dionysus elsewhere, the god here is depicted with wings that suggest his incarnation as a daimon instead of a god. The tesserae materials, made of glass, faience, terracotta, and natural stones, are fashioned into pieces measuring roughly one millimeter square, allowing for sharp detail and elaborate color scheme.

20/10/2021

两枚绘有太阳神赫利俄斯的希腊邮票，及其图案原型：

赫利俄斯（Helios）是希腊神话中的太阳神。他驾驶天马拉动的太阳车，由东至西驶过天际，为大地带来光明。艺术表现中，赫利俄斯通常头戴太阳光束状的冠冕，驾驭四匹飞马，立于黄金打造的马车上。

1：红绘混酒器（krater），绘有驾驶太阳车的赫利俄斯。发现于阿提卡，约公元前430年，现藏大英博物馆。
2：邮票的右下角写有“希腊共和国”，右侧 Europa - CEPT 即欧洲邮政。
3：赫利俄斯头戴太阳冠，驾马车飞行。来自特洛伊（今土耳其Tevfikiye）的雅典娜神庙，排档间饰浮雕，公元前4世纪，现存柏林帕加马博物馆。
4：1935年发行的这枚邮票下方写着“赫利俄斯的飞行马车”。

01/10/2021

行船壁画（Ship Procession Fresco），圣托里尼阿克罗蒂里古城（Akrotiri），公元前16世纪。

公元前1650-1550年期间，爱琴海中的塞拉岛（今圣托里尼）经历了一场地震，岛上的古代文明被摧毁。地震后紧接而来的火山爆发，将古城掩埋在了火山灰和浮石之下。1967年，考古发掘让古城阿克罗蒂里重见天日，也让数幅保存较完好的古代壁画重换光彩。

从公元前2000年至地震发生，塞拉岛发展成了地中海中一个繁荣的贸易中转站，联系着克里特岛、希腊本土、埃及，以及众多爱琴海岛屿。塞拉岛的壁画展示着岛民们对他们赖以生存的海洋和大自然的热爱，充满了植物、海洋生物、动物、海岸风景等元素。

行船壁画是一幅6米长的长卷式壁画，描绘了船只穿行于港口之间的景象，反映了塞拉岛作为重要港口和贸易中心的日常活动。画面中可见绮丽宏伟的古城、跃出海面的海豚、山岭间狮子与鹿的追逐等，充满生机，展现了岛民与自然的和谐共处。

阿克罗蒂里的壁画现藏于圣托里尼的史前博物馆，和雅典的国家考古博物馆。

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